Overtone scale: Difference between revisions

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This article focuses on a systematic approach to building modes of the harmonic series ~~and taking subsets of it~~, with attention paid to the different kinds of relationships available depending on the starting pitch, or tonic notes. It is not concerned with "purity", "consonance", "naturalness" or avoidance of "dissonance." Here, what might be called dissonant is instead called complex, and the reader is encouraged to explore the sounds of harmonic ratios ranging from the simplest to the most complex. This does not mean that the more complex intervals can be treated exactly the same way as the simpler ones, but that different levels of complexity can be valuable to explore in a tuning system. The usefulness of all this is left to each composer to determine through experimentation.

This article focuses on a systematic approach to building '''overtone scales''' (modes of the harmonic series), with attention paid to the different kinds of relationships available depending on the starting pitch, or tonic notes.

It is not concerned with "purity", "consonance", "naturalness" or avoidance of "dissonance." Here, what might be called dissonant is instead called complex, and the reader is encouraged to explore the sounds of harmonic ratios ranging from the simplest to the most complex. This does not mean that the more complex intervals can be treated exactly the same way as the simpler ones, but that different levels of complexity can be valuable to explore in a tuning system. The usefulness of all this is left to each composer to determine through experimentation.

== Introduction - modes of the harmonic series ==

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-This article focuses on a systematic approach to building modes of the harmonic series and taking subsets of it, with attention paid to the different kinds of relationships available depending on the starting pitch, or tonic notes. It is not concerned with "purity", "consonance", "naturalness" or avoidance of "dissonance." Here, what might be called dissonant is instead called complex, and the reader is encouraged to explore the sounds of harmonic ratios ranging from the simplest to the most complex. This does not mean that the more complex intervals can be treated exactly the same way as the simpler ones, but that different levels of complexity can be valuable to explore in a tuning system. The usefulness of all this is left to each composer to determine through experimentation.
+This article focuses on a systematic approach to building '''overtone scales''' (modes of the harmonic series), with attention paid to the different kinds of relationships available depending on the starting pitch, or tonic notes.
+It is not concerned with "purity", "consonance", "naturalness" or avoidance of "dissonance." Here, what might be called dissonant is instead called complex, and the reader is encouraged to explore the sounds of harmonic ratios ranging from the simplest to the most complex. This does not mean that the more complex intervals can be treated exactly the same way as the simpler ones, but that different levels of complexity can be valuable to explore in a tuning system. The usefulness of all this is left to each composer to determine through experimentation.
 == Introduction - modes of the harmonic series ==